110242-44 bk Boris US 26/04/2004 13:41 Page 16

ADD Great Opera Recordings 8.110242-44

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Boris Godunov

Boris Christoff Eugenia Zareska Kim Borg Andrzej Bielecki

Russian Chorus of Paris French National Radio Orchestra Issay Dobrowen 8.110216-17 Recorded in 1952

3 CDs 8.110242-44 16 110242-44 bk Boris US 26/04/2004 13:41 Page 2

Great Opera Recordings Mark Obert-Thorn

Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of Modest specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been MUSSORGSKY nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. (1839-1881) He has found a way to combine all three in the transfer of historical recordings. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike those who apply significant additions and make major changes to the acoustical qualities of old recordings. His philosophy is that a good transfer should not call attention to itself, but rather allow the performances to be heard with the greatest clarity. (Revised and orchestrated by Nikolay Rimsky-Korsakov) There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny and piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and Libretto by the composer after Pushkin and Karamzin consistently achieves better results than restoration engineers working with the metal parts from the archives of the modern corporate owners of the original recordings. His transfers preserve the original tone of the old recordings, Boris Godunov ...... Boris Christoff (Bass) maximising the details in critical upper mid-range and lower frequencies to achieve a musical integrity that is Fyodor ...... Eugenia Zareska (Mezzo-Soprano) absent from many other commercially released restorations. Xenia ...... Ludmilla Lebedeva (Soprano) Nurse ...... Lydia Romanova (Mezzo-Soprano) Shuysky ...... Andrzej Bielecki (Tenor) Shchelkalov ...... Kim Borg (Bass) Pimen ...... Boris Christoff (Bass) Grigory / Dmitry ...... Nicolai Gedda (Tenor) A Boyar ...... Gustav Ustinov (Tenor) Khrushchyov ...... Andrzej Bielecki (Tenor) Marina ...... Eugenia Zareska (Mezzo-Soprano) Rangoni ...... Kim Borg (Bass) Varlaam ...... Boris Christoff (Bass) Missail ...... Andrzej Bielecki (Tenor) Hostess ...... Lydia Romanova (Mezzo-Soprano) The Simpleton ...... Wassili Pasternak (Tenor) Police Officer ...... Stanislaw Pieczora (Bass) A Guard ...... Stanislaw Pieczora (Bass) Lavitsky ...... Raymond Bonte (Tenor) Chernikovsky ...... Eugène Bousquet (Bass)

Russian Chorus of Paris French National Radio Orchestra, Issay Dobrowen The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best Recorded 7th-21st July 1952 in the Théâtre des Champs-Élysées, Paris and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards First issued on HMV ALP 1044 through 1047 in the field of historical recordings.

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Kremlin. In the great assembly hall the Boyars meet, cathedral. The old man had done as he was bidden and CD 1 64:35 Grigory’s Dream: determined that the usurper should be captured and put at once recovered his sight. Boris falls back, fainting. 0 Bózhe krépki, právy 3:08 to death. 9 They await Prince Shuysky, without whom Regaining his senses, he calls for his son and bids Prologue 25:02 (Monks, Grigory, Pimen) they can do nothing. Shuysky joins them, telling how he Pimen to the cloister again. Shuysky hurries away to ! Ti vsyo pisál, i snom nye pozabylsa 3:43 had observed Tsar Boris and was worried about his find Fyodor. Boyars go in search of the Patriarch of the Scene 1 (Grigory, Pimen) sanity; the Tsar had stammered wildly, suffering some Monastery of Miracles. Fyodor runs in, throwing 1 Introduction 1:47 hidden sorrow and speaking to the ghost of Dmitry. The himself into his father’s arms. ! Boris now bids his son (Orchestra) Boris’s Crime: Boyars do not believe him but Shuysky adds that Boris farewell, for he is dying. Fyodor must now succeed him, @ Davnó, chestnóy otyéts 2:03 had told the ghost of the boy to go. Boris enters, at first however the throne had first been gained; he must 2 People’s Chorus: Nu, shtozh vy? 5:17 (Grigory, Pimen) unobserved, repeating Shuysky’s words and then distrust the disloyal Boyars in Lithuania and punish (Police Officer, The People) # Zvonyát k zaútrenye 3:44 coming forward to threaten Shuysky with death. The them. His voice grows weaker, as he bids his son be a (Pimen, Monks, Grigory) Boyars are alarmed at the Tsar’s appearance, but just ruler, honouring the saints and protecting his sister. 3 Shchelkalov’s Address: Shuysky tells him that an old holy man seeks to see him. He seeks the blessing of God and the angels on the boy. Pravoslávnye! nye umolím boyárin! 3:19 Scene 2 Boris orders the old man to be brought in, hoping that @ The funeral bell is heard and the sound of a choir in (Shchelkalov) $ Introduction 1:16 he will bring him peace of mind. 0 Pimen enters and a hymn of mourning. Boris is near to death, still haunted (Orchestra) looks fixedly at Boris, explaining the reason for his by his crimes and fearing what death may bring. The 4 Pilgrims’ Chorus: Sláva tebyé 3:46 visit. He tells him of how an old shepherd came to him, Boyars and religious enter and Boris rises to assert his (Pilgrims) % Song of the Hostess: blind from childhood and incurable by any herbs or power, before falling back in his chair, able only to Poymála ya síza seleznyá 2:14 charms; one night the shepherd dreamed that the voice point to his son Fyodor, the new Tsar. Scene 2 (Hostess, Missail, Varlaam) of a child called him to go to the city of Uglich to pray 5 Introduction 2:00 at the tomb of Dmitry, the murdered Tsarevich, in the Keith Anderson (Orchestra) ^ Arrival of Varlaam and Missail: Zhéno, mir dómu tvoemú! 2:30 6 People’s Chorus: (Varlaam, Hostess, Missail, Grigory) Da zdrástvuet tsar’ Borís Feódorovich! 3:15 (Shuysky, The People, Boyars) & Varlaam’s Drinking Song: Kak vo górode bylo vo Kazáne 3:34 7 Entry of Boris: Skorbít dushá! 3:10 (Varlaam, Grigory, Missail) (Boris) Producer’s Note * Grigory Questions the Hostess: 8 People’s Chorus: Sláva! Sláva! Sláva! 2:28 Kak yédet yon 3:37 The 1952 recording of Boris Godunov was transferred from American LP pressings. EMI’s original master tape (The People) (Varlaam, Grigory, Hostess) contains many occurrences of pre-echo and low-frequency thumps, and those which could not be removed unobtrusively were left in so as not to disrupt the musical content. Act One 39:33 ( The Guard’s Interrogation: Vy shto zá lyúdi? 3:57 A word is in order about the fillers for this set. Fyodor Chaliapin made his first electrical recording of the (Guard, Varlaam, Missail, Grigory) Coronation Scene under Albert Coates’s direction in October 1925 at Hayes. Although it was issued, HMV Scene 1 decided to re-record it, along with the Farewell and Death Scene, only seven months later in Queen’s Small Hall, 9 Pimen’s Monologue: ) Grigory’s Flight: Ya grámotny 3:46 this time with Eugene Goossens at the podium. Neither side was issued at the time, although the second half Yeshchó odnó poslyédnyeye skazánye 6:01 (Grigory, Guard, Varlaam, Missail) eventually appeared on LP. The first side now joins it, making its début some 78 years after it was recorded. The (Pimen) take of Boris’s Death from the 1926 sessions was also unpublished on 78 rpm discs, while the take of the 1931 Clock Scene makes its first appearance here. Mark Obert-Thorn 8.110242-44 14 3 8.110242-44 110242-44 bk Boris US 26/04/2004 13:41 Page 4

CD 2 68:12 calling on God for mercy. CD 3 Act Two 32:15 Act Three 35:57 Act III Act IV

1 Xenia’s Lament: Gdye ty, zheníkh moy 2:56 Scene 1 Scene 1 Scene 1 (Xenia, Nurse) # Chorus of Girls: Na Vislye lazúrnoy 2:38 (Chorus, Marina) # In her room in Sandomierz Castle in Poland her 1 In a forest glade near Kromi a crowd have taken the 2 Song of the Flea: Kak komár drová rubíl 2:00 women dress Marina’s hair, and sing in praise of her Boyar Khrushchyov prisoner. They gag him and tie him (Nurse) Marina’s Aria: beauty. $ She tells them to stop, preferring stories of to the trunk of a tree, seating an old woman by him and $ Krasótka pánna blagodárna 2:22 Poland’s glory. % In an aria she confesses that she is mocking him. 2 They continue their mockery, 3 Clapping Game: (Marina) tired of life, but her ambition centres on Dmitry and the ironically praising the Boyar and Tsar Boris. 3 The Ekh, máma mámushka, vot tak skázochka! 1:18 % Skúchno Marínye 3:33 throne of . ^ She is joined by the Jesuit Rangoni, Simpleton runs in, wearing a hat of tin and carrying in (Fyodor, Nurse) (Marina) who urges her to consider the Church and to do her his hand a sandal made of osiers. He is barefooted and utmost to convert Russia and earn the title of saint. & followed by a group of jeering urchins. They are 4 Boris Consoles Xenia: Chevó? 1:54 Duet: He tells her to use her charms to captivate Dmitry, in the silenced by some of the bystanders and the Simpleton (Boris, Nurse, Xenia) ^ Akh, éto ty, moy otyéts! 4:40 service of the Church. When she refuses, in anger, sits on a rock and sings of the moonshine, his song (Marina, Rangoni) Rangoni threatens her with damnation and she relents. turning to prayer. The urchins mock him again, with 5 Map Scene: A ty, moy syn, chem zányat? 2:05 & Krasóyu svoyéyu plení samozvántsa! 4:35 pretended respect, tapping him on his tin hat. The (Boris, Fyodor) (Rangoni, Marina) Scene 2 Simpleton tells them he has a kopek and when they pretend not to believe him, he takes it out of his hat and 6 Boris’s Monologue: Dostíg ya víshey vlásti 5:53 Scene 2 * In the castle garden, by the fountain, Dmitry waits in shows it to the boys, who copy him, seize the kopek and (Boris) * Dmitryi’s Aria: the moonlight to meet his beloved Marina, and is now run away. 4 The sound of Varlaam and Missail is V pólnoch’, v sadú, u fontána … 3:01 resolved to declare his love openly. ( To the sound of heard, as they approach. The Simpleton lies down and 7 Shuysky’s Treachery: Shto takóe? 1:44 (Dmitry) a Polacca, guests emerge from the castle, led by Marina, pretends to sleep, as the two gradually come nearer, (Boris, A Boyar, Fyodor) rejecting the advances of the gentleman who escorts singing of the crimes and wickedness of Tsar Boris. The ( Polonaise: her. All are united against the Russians, but feel that crowd takes up the same sentiments, eager for 8 Tale of the Parakeet: Pópinka nash sidyél 2:58 Váshey strásti ya nye vyéru, pánye 3:59 Marina is of no use to their cause. They re-enter the revolution and calling for the death of Boris. 5 The (Fyodor, Boris) (Marina, Guests) castle, with Marina, who orders wine for her guests. She sound of a Latin hymn is heard, as the Jesuits Lavitsky returns to join Dmitry, who now tells her of his love. ) and Chernikovsky approach. At the urging of Varlaam 9 Shuysky’s Information: Duet: Marina, however, makes it clear that she has her own the crowd seizes them and drags them away into the V elíky gosudár’, chelóm byu 3:32 ) Dimítri! Tsaryévich! Dimítri! 3:36 ambitions and would never agree to be his mistress forest. 6 Trumpets are heard and soldiers enter, with (Shuysky, Boris, Fyodor) (Marina, Dmitry) only. ¡ He kneels to her, pleading for her love, but she Dmitry on a white horse and greeted by the people, by ¡ Tebyá, tebyá, odnú, Marína 3:41 mocks him, telling him that he should be thinking of the the Boyar, who is released and hymned by the Jesuits 0 Boris’s Fears: Slikhál li ty, kogdá-nibud 2:20 (Dmitry, Marina) defeat of Tsar Boris. He reveals his plan to lead his Lavitsky and Chernikovsky, who follow him. The (Boris, Shuysky) ™ O, tsaryévich, umolyáyu 3:52 followers at dawn to attack Russia and take the sound of mourning bells is heard and fires are seen (Marina, Dmitry, Guests) Kremlin, telling her that she will be mocked for her burning in the distance. 7 The Simpleton, left alone, ! Shuysky’s Narration: V Ugliche, v soboryé 1:39 rejection of him. ™ Now she asks him to forgive her, sings of bloodshed, fire and misery. (Shuysky, Boris) pledging her loyalty to him and his cause. They are united and Rangoni, as he passes by, now sees with Scene 2 @ Clock Scene: Uf, tyazheló! 3:56 delight the success of his plans. (Boris) 8 The final scene is set in the Granovitaya Palace in the 8.110242-44 4 13 8.110242-44 110242-44 bk Boris US 26/04/2004 13:41 Page 12

the young monk. He urges Grigory to continue his task CD 2 CD 3 71:39 of writing a true historical record of what happens. # He asks for his stick. The monastic choir is heard in its Act II Act Four 45:08 matins prayer. Pimen walks towards the door, but Grigory returns to exclaim against Boris, who murdered 1 Xenia and Fyodor, children of Boris Godunov, sit in Scene 1 Scene 2 the young Tsar, and call for the justice of heaven. a room in the Kremlin, with their nurse, who is busy at 1 The Capture of Krushchyov: Valí syudá! 2:06 8 The Duma of the Boyars: work. Fyodor is reading, while Xenia sings sadly of the (Vagabonds) Shtozh, poydyóm na golosá, boyáre 3:32 Scene 2 death of her betrothed. 2 The nurse tries to comfort her (Boyars) by singing the Song of the Flea, with its mournful story 2 The Mocking of Krushchyov: Nye sokól letít 2:31 $ The scene has changed to that of an inn near the of the flea’s death. Fyodor asks for something more (Vagabonds, Boys) 9 Shuysky’s Evidence and Boris’s Denial: Lithuanian border. % A woman, polishing a pewter cheerful and 3 they start a clapping game together. 4 Zhal’, Shúyshkovo nyet knyázya 5:21 dish, sings to herself a folk-song. She seems to hear This is interrupted by the arrival of Boris, who tries to 3 The Taunting of the Simpleton: (Boyars, Shuysky, Boris) someone approaching. She goes on singing, but now the comfort Xenia, sending her away with the nurse to join Trr … Zhelyézny kolpák 2:22 voices of the tramps Varlaam and Missail are heard ^ the other women. 5 Fyodor is looking at the map of (Boys, Simpleton) 0 Pimen’s Narration: Smirénny ínok 6:21 and she greets the supposed holy men, accompanied by Russia, which extends so far. 6 Alone, Boris recalls (Pimen, Boris) Grigory, the false Dmitry, dressed now as a peasant. that he has now held supreme power for five years and 4 Entrance of Varlaam and Missail: Varlaam calls for wine, watching Grigory, who is still seeks the tranquillity once promised; his daughter Sóntse, luná pomyérknuli 3:34 ! Boris’s Farewell and Prayer: anxious to cross the frontier into Lithuania. Varlaam Xenia’s betrothed has died and he is haunted by remorse (Varlaam, Missail, The Crowd) Proshcháï moy syn, umiráu 6:06 assures him that he and Missail are quite happy since for the murder of the young Tsarevich. 7 The sound of (Boris) they escaped from their monastery. & They are served the women is heard from outside and a Boyar enters, 5 Entrance of the Jesuits: with wine and Varlaam starts to sing his song of Kazan, announcing the approach of Prince Shuysky, but telling Domine, Domine, salvum fac Regem 2:30 @ Funeral Bell and Death of Boris: about the exploits of Tsar Ivan in subduing the Tartars. Boris that Shuysky has met a group of conspirators and (Lavitsky, Chernikovsky, The Crowd, Varlaam, Zvon! Pogrebálny zvon! 4:37 * He tries to make Grigory drink with him, but the a messenger from Poland. Boris orders that he should be Missail) (Boris, Monks, Fyodor, The People) latter refuses. Varlaam, having drunk his fill, nods off, arrested. 8 Fyodor tries to lighten his burden by his while Grigory seeks to learn of the hostess how far it is story of the parrot, refused a sweetmeat by a nurse, 6 Entrance of Dmitri: Sláva, tebyé, tsaryévichu 3:48 to the border. She warns him that the soldiers have which quarrelled and continued to sulk and then (The Crowd, Dmitry, Khrushchyov, Lavitsky, orders to stop a suspected criminal, but tells him how to attacked all the women. It was the parrot that disturbed Chernikovsky) avoid them. ( Varlaam murmurs in his sleep, the his father’s thoughts. Boris, still disquieted, praises his fragment of a drunken song, which fits with the sound son and wishes that he might be able to pass the crown 7 The Simpleton’s Lament: of pounding at the door. Soldiers enter and their leader to him at once. 7 Shuysky enters and is reproached by Lyéytyes’, lyéytyes’, slyózi górkiye 2:20 questions Varlaam and Missail, bringing out a paper Boris. 9 Shuysky tells him of the news from Poland of (Simpleton) that he tells Varlaam to read out aloud, suspecting him a pretender to the throne and the danger he offers, if he of being the escaped heretic, to be taken on the Tsar’s once enters Russia, using, as he does, the name of the orders, alive or dead. ) Grigory admits that he can read murdered Tsarevich, Dmitry. 0 Boris tells Fyodor to and starts to read the proclamation that orders his own leave them and seeks assurance from Shuysky that the capture, trying to make the description fit Varlaam. The boy that was killed was really the Tsarevich, telling him soldiers seize Varlaam, who snatches the paper and to reveal all he knows. ! Shuysky describes the scene, makes out enough of it to make it clear that it is Grigory with thirty bodies rotting and the body of the Tsarevich, they are looking for. The latter, brandishing a knife, his face undisfigured, like an angel, lying dead. @ Boris makes his escape through the window, as the others tells Shuysky to leave him and, left to himself, gives shout after him. way to the horror of his thoughts, as the clock strikes, 8.110242-44 12 5 8.110242-44 110242-44 bk Boris US 26/04/2004 13:41 Page 6

Appendix Act 4 Boris Godunov become Tsar. 4 A group of blind pilgrims enters, with Studio Recordings of Scene 2 their guides, distributing holy amulets among the Fyodor Chaliapin as Boris Godunov & Boris’s Farewell and Prayer: Mussorgsky’s opera Boris Godunov has had a varied people, as they go towards the monastery. 1926-31 Proshcháï moy syn, umiráu 4:25 history. It has a libretto by the composer, derived from Recorded 21st May 1926 a tragedy by Pushkin and later including other material Scene 2 Prologue in Queen’s Small Hall, London from supposedly historical sources. The original version Scene 2 Matrix: CR 375-1 of the work was completed in 1869 and consisted of 5 In the great square in Moscow, between the # People’s Chorus: First issued on HMV DB 934 seven scenes, grouped in four parts or acts. Mussorgsky Cathedrals of the Assumption and the Archangels, the Da zdrástvuet tsar’ Borís Feódorovich! 4:27 revised the work, rewriting some of the material of the people are gathered. The bells ring out and a procession Recorded 27th May 1926 * Funeral Bell and Death of Boris: six scenes he retained from the first version and adding enters of guards, sons of the Boyars, Andrey in Queen’s Small Hall, London Zvon! Pogrebálny zvon! 4:20 three more, making nine scenes that form a prologue Shchelkalov with the Tsar’s staff of office, Boyars, Matrix: CR 377-2 Recorded 27th May 1926 and four acts. The revised version was performed in St deacons and others, entering the Cathedral of the Previously unpublished Queen’s Small Hall, London Petersburg in 1874. Completing his work in 1896, Assumption. 6 Prince Shuysky hails the Tsar, echoed Matrix: CR 374-3 Rimsky-Korsakov re-orchestrated the opera, making by the people and the Boyars. 7 Boris appears, with his $ Entry of Boris: Skorbít dushá! 4:08 Take unpublished on 78 rpm cuts, which he restored in a second revision in 1906, son Fyodor and daughter Xenia, haunted by his own Recorded 27th May 1926 with further re-orchestration and some additions. fears, but openly calling for God’s blessing on his reign in Queen’s Small Hall, London Chorus and orchestra conducted by The present version follows former practice in using and proclaiming a feast for all, 8 to the acclamation of Matrix: CR 378-2 Eugene Goossens Rimsky-Korsakov’s version. In more recent times it has the people. Unpublished on 78 rpm been possible to hear the composer’s original and revised versions of the opera. Act I Chorus and Orchestra conducted by Eugene Goossens Synopsis Scene 1

CD 1 9 The new scene is set in a cell in the Chudov Act 2 Monastery. An old monk, Pimen, is writing his % Boris’s Monologue: Dostíg ya víshey vlásti 5:09 Prologue chronicle, with one more deed to record. 0 A chorus of Recorded 6th June 1931 monks is heard, calling on God to banish evil. The in Kingsway Hall, London Scene 1 novice Grigory, who has been sleeping, wakes up, Matrix: 2B 577-3 exclaiming on the nightmare he has had again and First issued on HMV DB 1532 1 The first scene of the opera is set in the courtyard of admiring Pimen’s diligence and tranquillity. He calls on the Novodevichiy Monastery in Moscow. Groups of Pimen to bless him. ! He tells Pimen that while the old ^ Clock Scene: Uf, tyazheló! 4:02 people enter and the Boyars, led by Prince Shuysky man was working, he himself saw in his dream how he Recorded 6th June 1931 cross, entering the monastery. 2 A police-officer, climbed to a height above Moscow, how the people in Kingsway Hall, London brandishing a stick, orders the people to kneel, which pointed and jeered at him and how he fell from the Matrix: 2B 578-1 they do, calling out, as they have been told to, for a new tower, to wake up. Pimen has had an earlier life as a Previously unpublished take Tsar. He goes towards the monastery door, returning to warrior, but Grigory is a mere monk. Pimen, however, bid the people shout together, which they do, under praises his choice and the virtues of Tsar Ivan and his London Symphony Orchestra conducted by duress, without understanding the reason. 3 son Fyodor, who brought peace, but now Russia is ruled Max Steimann Shchelkalov, secretary to the council of Boyars, appears by a regicide. @ Grigory seeks to know how old the on the threshold of the monastery and greets the people, Tsarevich was when he was murdered and Pimen tells telling them that Boris still cannot be persuaded to him he would, had he lived, have been the same age as 8.110242-44 6 11 8.110242-44 110242-44 bk Boris US 26/04/2004 13:41 Page 10

Kim Borg (1919-2000), born in , was almost opera sets, recitals of arias, the Verdi (twice), (1839-1881) put off singing by a bad teacher and went into the Dvorˇák Requiem, The Dream of Gerontius, Boris Godunov engineering, but persisted in voice training with Mussorgsky songs in his own orchestrations, songs by Adelaide von Skilondz in and Magnus other Russian composers, Kilpinen and Sibelius – and The masters of Russian opera owed much to Italian ending set in the Kromy Forest. Boris’s monologue Andersen in . He made his recital début in some by himself. He made his début at the Met in New models. Glinka, father of the genre, spent valuable time became more like an aria and his Clock Scene made its 1947 and after singing Colline with the York in 1959 and sang both bass and parts all in Italy; Tchaikovsky loved to holiday there, soaking up appearance. That unforgettable character of the company, portrayed Gremin in Eugene Onégin with over Europe. the ambience; and even that rough diamond Simpleton was transferred from the St Basil’s scene to success in Copenhagen in 1952. This Boris Godunov Mussorgsky took inspiration from an Italian – in his the Kromy Forest and the opera now ended with his was the first of many recordings for him, including Tully Potter case, Verdi. In 1862 was given its lament. Other changes increased the female première in St Petersburg: it was an episodic involvement but the main gain on this front was the ‘revenger’s tragedy’ in which the action was played out advent of Marina. This second version of Boris was against a background of tavern, church and war, with influenced not just by Dargomyzhsky but by Rimsky- the chorus usually representing the common people. It Korsakov, with whom Mussorgsky stayed during its even featured a comic monk. La forza del destino cast a composition (Rimsky-Korsakov was working on The long shadow on Mussorgsky’s masterpieces Boris Maid of Pskov). Godunov and – and in view of the The Coronation Scene was performed in concert in reputation it gained for bringing bad luck, perhaps it put 1872 and the Polish Act and the Inn Scene were done at the evil eye on Boris. Certainly this magnificent opera, the Mariinsky in 1873; but the opera as a whole was not which seems to enshrine the very essence of the Russian heard until 1874, and even then cuts were made by the soul, has had a tortuous route to establishing itself in the conductor Napravník. Yet the work had a considerable repertoire. success. Boris was considered interesting even by its Mussorgsky wrote his first version of Boris detractors but by the time Mussorgsky died, aged just Godunov in 1868-69 at the prompting of the historian 42, in 1881 it had fallen into disuse. His friend Rimsky- Vladimir Nikolsky, basing it on the drama by Pushkin Korsakov started tinkering with it in 1888 and by 1896 and the history of Russia by Karamzin – Nikolsky and had produced a new version, rescored, changed in many Vladimir Stasov assisted with the libretto. This seven- details and with the order of the final two scenes scene version immediately ran into trouble, paralleling reversed so that the opera ended with Boris’s death. what would happen to Janácˇek a generation later. It had Two years later Fyodor Chaliapin took the title rôle for virtually no female interest and the music seemed the first time and it was he who made the work famous. barbaric to the refined tastes of the day. Mussorgsky’s In the 1920s Mussorgsky’s original score was particular genius was akin to the aspect he presented in published, but it made little headway – more notice was the famous portrait by Repin, rather rough and taken of Ippolitov-Ivanov’s rescoring of the St Basil’s unkempt, but what he heard in his mind’s ear was truer scene, which was sometimes added to the rest (with the to nature and the spirit of Mother Russia than the music duplicated section of the Simpleton’s part excised). A being produced by his friends among the ‘Mighty 1928 Leningrad production of the Mussorgsky version Handful’ (Balakirev, Rimsky-Korsakov, Cui and was badly presented and failed, despite having Mark Borodin). Rebuffed by the committee of the Imperial Reizen as Boris. Theatres, he produced a second version, cutting the The Rimsky-Korsakov’s version revised in 1906- scene which took place outside St Basil’s Cathedral, 08, with cuts restored, did better, conquering all the inserting a new act (some of which, already written, had major operatic centres through Chaliapin (other noted been left out of his first version) and composing a new exponents of Boris were Adam Didur, Robert Radford, 8.110242-44 10 7 8.110242-44 110242-44 bk Boris US 26/04/2004 13:41 Page 8

Carlo Galeffi, Vanni-Marcoux, André Pernet, until February 1947, when he sang Pimen in Rome to he became a professor at the and 1997 but continued to give recitals. His myriad and ). In Russia the the Boris of Tancredi Pasero. That September they in 1919 made his conducting début at the Bolshoy. In recordings include many opera sets, recitals of arias, art Rimsky version also ruled, although at the Bolshoy the repeated their rôles at , with Nicola Rossi- 1922 he went to as one of Fritz Busch’s songs, Verdi’s Requiem and Elgar’s The Dream of St Basil’s scene was restored and the Kromy Forest Lemeni as Varlaam; in February 1948 Christoff essayed assistants and was soon among Europe’s best-known Gerontius. scene was placed in its rightful position at the end. This the rôle of Dosifei in Khovanshchina at Trieste, with conductors, holding posts in Vienna, Sofia, and version was recorded in the late 1940s – Russian record Rossi-Lemeni as Khovansky, and the following month Budapest. He first appeared in America in 1931 and in Andrzej Bielecki (1907-1959), from Cracow, studied buyers could choose between Reizen and Alexander Christoff replaced the scheduled Pasero as Boris at the late 1930s assisted in creating the Palestine law at its University before learning singing with Pirogov as Boris. Meanwhile in 1940 Shostakovich Cagliari, with Tullio Serafin conducting. Christoff and Orchestra. During the war he worked in Sweden and Walek-Walevski, Kniagin and Bernardino Rizzi. Not made his own orchestration, which sought to mediate Rossi-Lemeni became a double-act in Khovanshchina, from 1945 he resumed his international career, making until 1938 did he make his début in Cracow, in between the ideals of Mussorgsky and Rimsky- finally in February 1949 reaching La Scala, where their recordings with the Philharmonia in London. A fine Moniuszko’s Halka. During the war he was interned by Korsakov. To be fair to Rimsky-Korsakov, he wrote of conductor was Issay Dobrowen. Meanwhile Christoff composer, he was also a talented opera director. He died the Germans in Italy, where he had been studying with his effort: ‘Mussorgsky’s violent admirers frowned a had sung in Mussorgsky’s Sorochintsy Fair for Italian in Oslo after a long illness. Pesci in Rome, but he escaped during an Allied bit, regretting something… But having arranged the Radio (and he would soon do it on stage). In November bombing raid and was engaged by the San Carlo, new revision of Boris Godunov, I had not destroyed its 1949 he sang Boris in London (doing the Rimsky Eugenia Zareska (1910-79) was from Rava Ruska and Naples, making his début in 1944 as Cavaradossi in original form, had not painted out the old frescoes for version in Russian while everyone else did the studied in Lvov with Adam Didur before going for Tosca. He gave concerts for Allied troops and in 1946 ever. If ever the conclusion is arrived at that the original Mussorgsky version in English) and across New Year further study to Vienna, where in 1938 she won a toured Great Britain as a recitalist. He had already sung is better, worthier than my revision, mine will be 1950 he gave four performances at La Scala under singing competition. Having had more lessons from Shuysky on stage several times with Christoff before discarded, and Boris Godunov will be performed Dobrowen. By the time this recording was made in Anna Bahr-Mildenburg, she made her début in 1939. making this, his only major recording. according to the original score’. In the past few decades 1952, he was steeped in Mussorgsky’s music and, like From 1940 she lived in Italy, studying and making her that point has been reached: Mussorgsky’s original has Chaliapin before him, knew every note of the Rimsky- début at La Scala in 1941 as Dorabella in Così fan tutte. Boris Christoff (1914-93) was born in Plovdiv, taken over and now it is Rimsky-Korsakov’s score Korsakov Boris. It now seems strange that he should The following year she was a member of the Rome Bulgaria, and began as a choral and concert singer. In which is endangered. have commandeered all three main bass rôles: a Boris company. After the war she was popular in Paris, where 1942 he was given a royal scholarship to study in Whichever version you espouse, Mussorgsky’s with, say, Raphael Arië as Pimen and Rossi-Lemeni as Marina was one of her roles, and London, appearing at with Riccardo Stracciari, but in the aftermath of the war opera is a masterwork full of magnificent music and Varlaam would have been a great draw, but the new Covent Garden (as Carmen among others), the he was interned in a labour camp. He made his operatic pungent characterisation. Folk-song inspires many of its tape process made it possible – Christoff-Boris and Cambridge Theatre (as Rosina) and Glyndebourne (as début as Colline in La bohème at Reggio Calabria in pages – a notable example is the great chorus in the Christoff-Pimen had to confront each other in Act IV – Dorabella). She made a number of recordings. March 1946 and until his last performance, as Verdi’s Prologue, based on a tune Beethoven had already used and Dobrowen and EMI went along with the idea Attila at Parma in 1983, was a notable force in Italian on a smaller scale in his Second Razumovsky Quartet. (which Christoff would repeat for stereo, though Nicolai Gedda (born 1925) hails from Stockholm and opera. He retired from recitals in 1986. Politics kept him Even more than most Russian music of the nineteenth without Dobrowen). Whatever one thinks of the was adopted by his aunt and her Russian husband. From out of the United States until 1956 and he did not sing in century, Boris Godunov is also redolent of liturgical preponderance of Christoff’s tones in the finished set, 1928 to 1934 he lived in Leipzig, where his adopted New York until a 1980 concert but he was a favourite chant at almost every turn. Larger-than-life characters he sings well enough. To have the young Gedda as the father, a bass, was the Russian Orthodox cantor. His throughout Europe and in South America. Apart from such as Varlaam, Missail, the Hostess and the False Dmitry, Eugenia Zareska as Marina and Kim singing teachers were Carl Martin Öhman in Stockholm Boris, his most acclaimed rôles were Philip II in Simpleton provide diversions from the tortured Borg as the wily Jesuit Rangoni is also marvellous, but (from 1949) and Paola Novikova in New York (from Don Carlo, Fiesco in and character of Boris himself who is on stage for a it is for Christoff and the conducting of Dobrowen that 1957). After a year in the company’s school, he made Méphistophélès in Faust; he also had a wide repertoire relatively short time and always the chorus is there, this set – the first to be available worldwide is treasured his début in April 1952 at the Stockholm Royal Opera of songs and oratorios and was renowned as a recitalist. representing the timeless stoicism of the Russian by opera buffs. as Chapelou in Adam’s Le Postillon de Lonjumeau, Among his many recordings were opera sets (Philip, people. auditioned for Walter Legge, who was in Stockholm, Méphistophélès and Boris each done twice), aria Boris Christoff, Chaliapin’s successor in the West, Issay Dobrowen (1891-1953), born at Nizhny- and was engaged for this recording. He then received a recitals, a compendium of Russian songs and a was singing music from the opera in public as early as Novgorod, Russia, was a child prodigy pianist. He contract for La Scala. Since then he has been one of the complete set of Mussorgsky’s songs. 1944 and soon began programming Mussorgsky’s studied composition at the Moscow Conservatory with world’s leading tenors, famed equally in Russian, songs, but he did not engage with the composer on stage Taneyev and piano in Vienna with Godowsky. In 1917 French and Italian rôles. He retired from the stage in 8.110242-44 8 9 8.110242-44 110242-44 bk Boris US 26/04/2004 13:41 Page 8

Carlo Galeffi, Vanni-Marcoux, André Pernet, until February 1947, when he sang Pimen in Rome to he became a professor at the Moscow Conservatory and 1997 but continued to give recitals. His myriad Alexander Kipnis and Ezio Pinza). In Russia the the Boris of Tancredi Pasero. That September they in 1919 made his conducting début at the Bolshoy. In recordings include many opera sets, recitals of arias, art Rimsky version also ruled, although at the Bolshoy the repeated their rôles at La Scala, with Nicola Rossi- 1922 he went to Dresden as one of Fritz Busch’s songs, Verdi’s Requiem and Elgar’s The Dream of St Basil’s scene was restored and the Kromy Forest Lemeni as Varlaam; in February 1948 Christoff essayed assistants and was soon among Europe’s best-known Gerontius. scene was placed in its rightful position at the end. This the rôle of Dosifei in Khovanshchina at Trieste, with conductors, holding posts in Vienna, Sofia, Oslo and version was recorded in the late 1940s – Russian record Rossi-Lemeni as Khovansky, and the following month Budapest. He first appeared in America in 1931 and in Andrzej Bielecki (1907-1959), from Cracow, studied buyers could choose between Reizen and Alexander Christoff replaced the scheduled Pasero as Boris at the late 1930s assisted in creating the Palestine law at its University before learning singing with Pirogov as Boris. Meanwhile in 1940 Shostakovich Cagliari, with Tullio Serafin conducting. Christoff and Orchestra. During the war he worked in Sweden and Walek-Walevski, Kniagin and Bernardino Rizzi. Not made his own orchestration, which sought to mediate Rossi-Lemeni became a double-act in Khovanshchina, from 1945 he resumed his international career, making until 1938 did he make his début in Cracow, in between the ideals of Mussorgsky and Rimsky- finally in February 1949 reaching La Scala, where their recordings with the Philharmonia in London. A fine Moniuszko’s Halka. During the war he was interned by Korsakov. To be fair to Rimsky-Korsakov, he wrote of conductor was Issay Dobrowen. Meanwhile Christoff composer, he was also a talented opera director. He died the Germans in Italy, where he had been studying with his effort: ‘Mussorgsky’s violent admirers frowned a had sung in Mussorgsky’s Sorochintsy Fair for Italian in Oslo after a long illness. Pesci in Rome, but he escaped during an Allied bit, regretting something… But having arranged the Radio (and he would soon do it on stage). In November bombing raid and was engaged by the San Carlo, new revision of Boris Godunov, I had not destroyed its 1949 he sang Boris in London (doing the Rimsky Eugenia Zareska (1910-79) was from Rava Ruska and Naples, making his début in 1944 as Cavaradossi in original form, had not painted out the old frescoes for version in Russian while everyone else did the studied in Lvov with Adam Didur before going for Tosca. He gave concerts for Allied troops and in 1946 ever. If ever the conclusion is arrived at that the original Mussorgsky version in English) and across New Year further study to Vienna, where in 1938 she won a toured Great Britain as a recitalist. He had already sung is better, worthier than my revision, mine will be 1950 he gave four performances at La Scala under singing competition. Having had more lessons from Shuysky on stage several times with Christoff before discarded, and Boris Godunov will be performed Dobrowen. By the time this recording was made in Anna Bahr-Mildenburg, she made her début in 1939. making this, his only major recording. according to the original score’. In the past few decades 1952, he was steeped in Mussorgsky’s music and, like From 1940 she lived in Italy, studying and making her that point has been reached: Mussorgsky’s original has Chaliapin before him, knew every note of the Rimsky- début at La Scala in 1941 as Dorabella in Così fan tutte. Boris Christoff (1914-93) was born in Plovdiv, taken over and now it is Rimsky-Korsakov’s score Korsakov Boris. It now seems strange that he should The following year she was a member of the Rome Bulgaria, and began as a choral and concert singer. In which is endangered. have commandeered all three main bass rôles: a Boris company. After the war she was popular in Paris, where 1942 he was given a royal scholarship to study in Milan Whichever version you espouse, Mussorgsky’s with, say, Raphael Arië as Pimen and Rossi-Lemeni as Marina was one of her roles, and London, appearing at with Riccardo Stracciari, but in the aftermath of the war opera is a masterwork full of magnificent music and Varlaam would have been a great draw, but the new Covent Garden (as Carmen among others), the he was interned in a labour camp. He made his operatic pungent characterisation. Folk-song inspires many of its tape process made it possible – Christoff-Boris and Cambridge Theatre (as Rosina) and Glyndebourne (as début as Colline in La bohème at Reggio Calabria in pages – a notable example is the great chorus in the Christoff-Pimen had to confront each other in Act IV – Dorabella). She made a number of recordings. March 1946 and until his last performance, as Verdi’s Prologue, based on a tune Beethoven had already used and Dobrowen and EMI went along with the idea Attila at Parma in 1983, was a notable force in Italian on a smaller scale in his Second Razumovsky Quartet. (which Christoff would repeat for stereo, though Nicolai Gedda (born 1925) hails from Stockholm and opera. He retired from recitals in 1986. Politics kept him Even more than most Russian music of the nineteenth without Dobrowen). Whatever one thinks of the was adopted by his aunt and her Russian husband. From out of the United States until 1956 and he did not sing in century, Boris Godunov is also redolent of liturgical preponderance of Christoff’s tones in the finished set, 1928 to 1934 he lived in Leipzig, where his adopted New York until a 1980 concert but he was a favourite chant at almost every turn. Larger-than-life characters he sings well enough. To have the young Gedda as the father, a bass, was the Russian Orthodox cantor. His throughout Europe and in South America. Apart from such as Varlaam, Missail, the Hostess and the False Dmitry, Eugenia Zareska as Marina and Kim singing teachers were Carl Martin Öhman in Stockholm Boris, his most acclaimed rôles were Philip II in Simpleton provide diversions from the tortured Borg as the wily Jesuit Rangoni is also marvellous, but (from 1949) and Paola Novikova in New York (from Don Carlo, Fiesco in Simon Boccanegra and character of Boris himself who is on stage for a it is for Christoff and the conducting of Dobrowen that 1957). After a year in the company’s school, he made Méphistophélès in Faust; he also had a wide repertoire relatively short time and always the chorus is there, this set – the first to be available worldwide is treasured his début in April 1952 at the Stockholm Royal Opera of songs and oratorios and was renowned as a recitalist. representing the timeless stoicism of the Russian by opera buffs. as Chapelou in Adam’s Le Postillon de Lonjumeau, Among his many recordings were opera sets (Philip, people. auditioned for Walter Legge, who was in Stockholm, Méphistophélès and Boris each done twice), aria Boris Christoff, Chaliapin’s successor in the West, Issay Dobrowen (1891-1953), born at Nizhny- and was engaged for this recording. He then received a recitals, a compendium of Russian songs and a was singing music from the opera in public as early as Novgorod, Russia, was a child prodigy pianist. He contract for La Scala. Since then he has been one of the complete set of Mussorgsky’s songs. 1944 and soon began programming Mussorgsky’s studied composition at the Moscow Conservatory with world’s leading tenors, famed equally in Russian, songs, but he did not engage with the composer on stage Taneyev and piano in Vienna with Godowsky. In 1917 French and Italian rôles. He retired from the stage in 8.110242-44 8 9 8.110242-44 110242-44 bk Boris US 26/04/2004 13:41 Page 10

Kim Borg (1919-2000), born in Helsinki, was almost opera sets, recitals of arias, the Verdi Requiem (twice), Modest MUSSORGSKY (1839-1881) put off singing by a bad teacher and went into the Dvorˇák Requiem, The Dream of Gerontius, Boris Godunov engineering, but persisted in voice training with Mussorgsky songs in his own orchestrations, songs by Adelaide von Skilondz in Stockholm and Magnus other Russian composers, Kilpinen and Sibelius – and The masters of Russian opera owed much to Italian ending set in the Kromy Forest. Boris’s monologue Andersen in Copenhagen. He made his recital début in some by himself. He made his début at the Met in New models. Glinka, father of the genre, spent valuable time became more like an aria and his Clock Scene made its 1947 and after singing Colline with the Aarhus York in 1959 and sang both bass and baritone parts all in Italy; Tchaikovsky loved to holiday there, soaking up appearance. That unforgettable character of the company, portrayed Gremin in Eugene Onégin with over Europe. the ambience; and even that rough diamond Simpleton was transferred from the St Basil’s scene to success in Copenhagen in 1952. This Boris Godunov Mussorgsky took inspiration from an Italian – in his the Kromy Forest and the opera now ended with his was the first of many recordings for him, including Tully Potter case, Verdi. In 1862 La forza del destino was given its lament. Other changes increased the female première in St Petersburg: it was an episodic involvement but the main gain on this front was the ‘revenger’s tragedy’ in which the action was played out advent of Marina. This second version of Boris was against a background of tavern, church and war, with influenced not just by Dargomyzhsky but by Rimsky- the chorus usually representing the common people. It Korsakov, with whom Mussorgsky stayed during its even featured a comic monk. La forza del destino cast a composition (Rimsky-Korsakov was working on The long shadow on Mussorgsky’s masterpieces Boris Maid of Pskov). Godunov and Khovanshchina – and in view of the The Coronation Scene was performed in concert in reputation it gained for bringing bad luck, perhaps it put 1872 and the Polish Act and the Inn Scene were done at the evil eye on Boris. Certainly this magnificent opera, the Mariinsky in 1873; but the opera as a whole was not which seems to enshrine the very essence of the Russian heard until 1874, and even then cuts were made by the soul, has had a tortuous route to establishing itself in the conductor Napravník. Yet the work had a considerable repertoire. success. Boris was considered interesting even by its Mussorgsky wrote his first version of Boris detractors but by the time Mussorgsky died, aged just Godunov in 1868-69 at the prompting of the historian 42, in 1881 it had fallen into disuse. His friend Rimsky- Vladimir Nikolsky, basing it on the drama by Pushkin Korsakov started tinkering with it in 1888 and by 1896 and the history of Russia by Karamzin – Nikolsky and had produced a new version, rescored, changed in many Vladimir Stasov assisted with the libretto. This seven- details and with the order of the final two scenes scene version immediately ran into trouble, paralleling reversed so that the opera ended with Boris’s death. what would happen to Janácˇek a generation later. It had Two years later Fyodor Chaliapin took the title rôle for virtually no female interest and the music seemed the first time and it was he who made the work famous. barbaric to the refined tastes of the day. Mussorgsky’s In the 1920s Mussorgsky’s original score was particular genius was akin to the aspect he presented in published, but it made little headway – more notice was the famous portrait by Repin, rather rough and taken of Ippolitov-Ivanov’s rescoring of the St Basil’s unkempt, but what he heard in his mind’s ear was truer scene, which was sometimes added to the rest (with the to nature and the spirit of Mother Russia than the music duplicated section of the Simpleton’s part excised). A being produced by his friends among the ‘Mighty 1928 Leningrad production of the Mussorgsky version Handful’ (Balakirev, Rimsky-Korsakov, Cui and was badly presented and failed, despite having Mark Borodin). Rebuffed by the committee of the Imperial Reizen as Boris. Theatres, he produced a second version, cutting the The Rimsky-Korsakov’s version revised in 1906- scene which took place outside St Basil’s Cathedral, 08, with cuts restored, did better, conquering all the inserting a new act (some of which, already written, had major operatic centres through Chaliapin (other noted been left out of his first version) and composing a new exponents of Boris were Adam Didur, Robert Radford, 8.110242-44 10 7 8.110242-44 110242-44 bk Boris US 26/04/2004 13:41 Page 6

Appendix Act 4 Boris Godunov become Tsar. 4 A group of blind pilgrims enters, with Studio Recordings of Scene 2 their guides, distributing holy amulets among the Fyodor Chaliapin as Boris Godunov & Boris’s Farewell and Prayer: Mussorgsky’s opera Boris Godunov has had a varied people, as they go towards the monastery. 1926-31 Proshcháï moy syn, umiráu 4:25 history. It has a libretto by the composer, derived from Recorded 21st May 1926 a tragedy by Pushkin and later including other material Scene 2 Prologue in Queen’s Small Hall, London from supposedly historical sources. The original version Scene 2 Matrix: CR 375-1 of the work was completed in 1869 and consisted of 5 In the great square in Moscow, between the # People’s Chorus: First issued on HMV DB 934 seven scenes, grouped in four parts or acts. Mussorgsky Cathedrals of the Assumption and the Archangels, the Da zdrástvuet tsar’ Borís Feódorovich! 4:27 revised the work, rewriting some of the material of the people are gathered. The bells ring out and a procession Recorded 27th May 1926 * Funeral Bell and Death of Boris: six scenes he retained from the first version and adding enters of guards, sons of the Boyars, Andrey in Queen’s Small Hall, London Zvon! Pogrebálny zvon! 4:20 three more, making nine scenes that form a prologue Shchelkalov with the Tsar’s staff of office, Boyars, Matrix: CR 377-2 Recorded 27th May 1926 and four acts. The revised version was performed in St deacons and others, entering the Cathedral of the Previously unpublished Queen’s Small Hall, London Petersburg in 1874. Completing his work in 1896, Assumption. 6 Prince Shuysky hails the Tsar, echoed Matrix: CR 374-3 Rimsky-Korsakov re-orchestrated the opera, making by the people and the Boyars. 7 Boris appears, with his $ Entry of Boris: Skorbít dushá! 4:08 Take unpublished on 78 rpm cuts, which he restored in a second revision in 1906, son Fyodor and daughter Xenia, haunted by his own Recorded 27th May 1926 with further re-orchestration and some additions. fears, but openly calling for God’s blessing on his reign in Queen’s Small Hall, London Chorus and orchestra conducted by The present version follows former practice in using and proclaiming a feast for all, 8 to the acclamation of Matrix: CR 378-2 Eugene Goossens Rimsky-Korsakov’s version. In more recent times it has the people. Unpublished on 78 rpm been possible to hear the composer’s original and revised versions of the opera. Act I Chorus and Orchestra conducted by Eugene Goossens Synopsis Scene 1

CD 1 9 The new scene is set in a cell in the Chudov Act 2 Monastery. An old monk, Pimen, is writing his % Boris’s Monologue: Dostíg ya víshey vlásti 5:09 Prologue chronicle, with one more deed to record. 0 A chorus of Recorded 6th June 1931 monks is heard, calling on God to banish evil. The in Kingsway Hall, London Scene 1 novice Grigory, who has been sleeping, wakes up, Matrix: 2B 577-3 exclaiming on the nightmare he has had again and First issued on HMV DB 1532 1 The first scene of the opera is set in the courtyard of admiring Pimen’s diligence and tranquillity. He calls on the Novodevichiy Monastery in Moscow. Groups of Pimen to bless him. ! He tells Pimen that while the old ^ Clock Scene: Uf, tyazheló! 4:02 people enter and the Boyars, led by Prince Shuysky man was working, he himself saw in his dream how he Recorded 6th June 1931 cross, entering the monastery. 2 A police-officer, climbed to a height above Moscow, how the people in Kingsway Hall, London brandishing a stick, orders the people to kneel, which pointed and jeered at him and how he fell from the Matrix: 2B 578-1 they do, calling out, as they have been told to, for a new tower, to wake up. Pimen has had an earlier life as a Previously unpublished take Tsar. He goes towards the monastery door, returning to warrior, but Grigory is a mere monk. Pimen, however, bid the people shout together, which they do, under praises his choice and the virtues of Tsar Ivan and his London Symphony Orchestra conducted by duress, without understanding the reason. 3 son Fyodor, who brought peace, but now Russia is ruled Max Steimann Shchelkalov, secretary to the council of Boyars, appears by a regicide. @ Grigory seeks to know how old the on the threshold of the monastery and greets the people, Tsarevich was when he was murdered and Pimen tells telling them that Boris still cannot be persuaded to him he would, had he lived, have been the same age as 8.110242-44 6 11 8.110242-44 110242-44 bk Boris US 26/04/2004 13:41 Page 12

the young monk. He urges Grigory to continue his task CD 2 CD 3 71:39 of writing a true historical record of what happens. # He asks for his stick. The monastic choir is heard in its Act II Act Four 45:08 matins prayer. Pimen walks towards the door, but Grigory returns to exclaim against Boris, who murdered 1 Xenia and Fyodor, children of Boris Godunov, sit in Scene 1 Scene 2 the young Tsar, and call for the justice of heaven. a room in the Kremlin, with their nurse, who is busy at 1 The Capture of Krushchyov: Valí syudá! 2:06 8 The Duma of the Boyars: work. Fyodor is reading, while Xenia sings sadly of the (Vagabonds) Shtozh, poydyóm na golosá, boyáre 3:32 Scene 2 death of her betrothed. 2 The nurse tries to comfort her (Boyars) by singing the Song of the Flea, with its mournful story 2 The Mocking of Krushchyov: Nye sokól letít 2:31 $ The scene has changed to that of an inn near the of the flea’s death. Fyodor asks for something more (Vagabonds, Boys) 9 Shuysky’s Evidence and Boris’s Denial: Lithuanian border. % A woman, polishing a pewter cheerful and 3 they start a clapping game together. 4 Zhal’, Shúyshkovo nyet knyázya 5:21 dish, sings to herself a folk-song. She seems to hear This is interrupted by the arrival of Boris, who tries to 3 The Taunting of the Simpleton: (Boyars, Shuysky, Boris) someone approaching. She goes on singing, but now the comfort Xenia, sending her away with the nurse to join Trr … Zhelyézny kolpák 2:22 voices of the tramps Varlaam and Missail are heard ^ the other women. 5 Fyodor is looking at the map of (Boys, Simpleton) 0 Pimen’s Narration: Smirénny ínok 6:21 and she greets the supposed holy men, accompanied by Russia, which extends so far. 6 Alone, Boris recalls (Pimen, Boris) Grigory, the false Dmitry, dressed now as a peasant. that he has now held supreme power for five years and 4 Entrance of Varlaam and Missail: Varlaam calls for wine, watching Grigory, who is still seeks the tranquillity once promised; his daughter Sóntse, luná pomyérknuli 3:34 ! Boris’s Farewell and Prayer: anxious to cross the frontier into Lithuania. Varlaam Xenia’s betrothed has died and he is haunted by remorse (Varlaam, Missail, The Crowd) Proshcháï moy syn, umiráu 6:06 assures him that he and Missail are quite happy since for the murder of the young Tsarevich. 7 The sound of (Boris) they escaped from their monastery. & They are served the women is heard from outside and a Boyar enters, 5 Entrance of the Jesuits: with wine and Varlaam starts to sing his song of Kazan, announcing the approach of Prince Shuysky, but telling Domine, Domine, salvum fac Regem 2:30 @ Funeral Bell and Death of Boris: about the exploits of Tsar Ivan in subduing the Tartars. Boris that Shuysky has met a group of conspirators and (Lavitsky, Chernikovsky, The Crowd, Varlaam, Zvon! Pogrebálny zvon! 4:37 * He tries to make Grigory drink with him, but the a messenger from Poland. Boris orders that he should be Missail) (Boris, Monks, Fyodor, The People) latter refuses. Varlaam, having drunk his fill, nods off, arrested. 8 Fyodor tries to lighten his burden by his while Grigory seeks to learn of the hostess how far it is story of the parrot, refused a sweetmeat by a nurse, 6 Entrance of Dmitri: Sláva, tebyé, tsaryévichu 3:48 to the border. She warns him that the soldiers have which quarrelled and continued to sulk and then (The Crowd, Dmitry, Khrushchyov, Lavitsky, orders to stop a suspected criminal, but tells him how to attacked all the women. It was the parrot that disturbed Chernikovsky) avoid them. ( Varlaam murmurs in his sleep, the his father’s thoughts. Boris, still disquieted, praises his fragment of a drunken song, which fits with the sound son and wishes that he might be able to pass the crown 7 The Simpleton’s Lament: of pounding at the door. Soldiers enter and their leader to him at once. 7 Shuysky enters and is reproached by Lyéytyes’, lyéytyes’, slyózi górkiye 2:20 questions Varlaam and Missail, bringing out a paper Boris. 9 Shuysky tells him of the news from Poland of (Simpleton) that he tells Varlaam to read out aloud, suspecting him a pretender to the throne and the danger he offers, if he of being the escaped heretic, to be taken on the Tsar’s once enters Russia, using, as he does, the name of the orders, alive or dead. ) Grigory admits that he can read murdered Tsarevich, Dmitry. 0 Boris tells Fyodor to and starts to read the proclamation that orders his own leave them and seeks assurance from Shuysky that the capture, trying to make the description fit Varlaam. The boy that was killed was really the Tsarevich, telling him soldiers seize Varlaam, who snatches the paper and to reveal all he knows. ! Shuysky describes the scene, makes out enough of it to make it clear that it is Grigory with thirty bodies rotting and the body of the Tsarevich, they are looking for. The latter, brandishing a knife, his face undisfigured, like an angel, lying dead. @ Boris makes his escape through the window, as the others tells Shuysky to leave him and, left to himself, gives shout after him. way to the horror of his thoughts, as the clock strikes, 8.110242-44 12 5 8.110242-44 110242-44 bk Boris US 26/04/2004 13:41 Page 4

CD 2 68:12 calling on God for mercy. CD 3 Act Two 32:15 Act Three 35:57 Act III Act IV

1 Xenia’s Lament: Gdye ty, zheníkh moy 2:56 Scene 1 Scene 1 Scene 1 (Xenia, Nurse) # Chorus of Girls: Na Vislye lazúrnoy 2:38 (Chorus, Marina) # In her room in Sandomierz Castle in Poland her 1 In a forest glade near Kromi a crowd have taken the 2 Song of the Flea: Kak komár drová rubíl 2:00 women dress Marina’s hair, and sing in praise of her Boyar Khrushchyov prisoner. They gag him and tie him (Nurse) Marina’s Aria: beauty. $ She tells them to stop, preferring stories of to the trunk of a tree, seating an old woman by him and $ Krasótka pánna blagodárna 2:22 Poland’s glory. % In an aria she confesses that she is mocking him. 2 They continue their mockery, 3 Clapping Game: (Marina) tired of life, but her ambition centres on Dmitry and the ironically praising the Boyar and Tsar Boris. 3 The Ekh, máma mámushka, vot tak skázochka! 1:18 % Skúchno Marínye 3:33 throne of Russia. ^ She is joined by the Jesuit Rangoni, Simpleton runs in, wearing a hat of tin and carrying in (Fyodor, Nurse) (Marina) who urges her to consider the Church and to do her his hand a sandal made of osiers. He is barefooted and utmost to convert Russia and earn the title of saint. & followed by a group of jeering urchins. They are 4 Boris Consoles Xenia: Chevó? 1:54 Duet: He tells her to use her charms to captivate Dmitry, in the silenced by some of the bystanders and the Simpleton (Boris, Nurse, Xenia) ^ Akh, éto ty, moy otyéts! 4:40 service of the Church. When she refuses, in anger, sits on a rock and sings of the moonshine, his song (Marina, Rangoni) Rangoni threatens her with damnation and she relents. turning to prayer. The urchins mock him again, with 5 Map Scene: A ty, moy syn, chem zányat? 2:05 & Krasóyu svoyéyu plení samozvántsa! 4:35 pretended respect, tapping him on his tin hat. The (Boris, Fyodor) (Rangoni, Marina) Scene 2 Simpleton tells them he has a kopek and when they pretend not to believe him, he takes it out of his hat and 6 Boris’s Monologue: Dostíg ya víshey vlásti 5:53 Scene 2 * In the castle garden, by the fountain, Dmitry waits in shows it to the boys, who copy him, seize the kopek and (Boris) * Dmitryi’s Aria: the moonlight to meet his beloved Marina, and is now run away. 4 The sound of Varlaam and Missail is V pólnoch’, v sadú, u fontána … 3:01 resolved to declare his love openly. ( To the sound of heard, as they approach. The Simpleton lies down and 7 Shuysky’s Treachery: Shto takóe? 1:44 (Dmitry) a Polacca, guests emerge from the castle, led by Marina, pretends to sleep, as the two gradually come nearer, (Boris, A Boyar, Fyodor) rejecting the advances of the gentleman who escorts singing of the crimes and wickedness of Tsar Boris. The ( Polonaise: her. All are united against the Russians, but feel that crowd takes up the same sentiments, eager for 8 Tale of the Parakeet: Pópinka nash sidyél 2:58 Váshey strásti ya nye vyéru, pánye 3:59 Marina is of no use to their cause. They re-enter the revolution and calling for the death of Boris. 5 The (Fyodor, Boris) (Marina, Guests) castle, with Marina, who orders wine for her guests. She sound of a Latin hymn is heard, as the Jesuits Lavitsky returns to join Dmitry, who now tells her of his love. ) and Chernikovsky approach. At the urging of Varlaam 9 Shuysky’s Information: Duet: Marina, however, makes it clear that she has her own the crowd seizes them and drags them away into the V elíky gosudár’, chelóm byu 3:32 ) Dimítri! Tsaryévich! Dimítri! 3:36 ambitions and would never agree to be his mistress forest. 6 Trumpets are heard and soldiers enter, with (Shuysky, Boris, Fyodor) (Marina, Dmitry) only. ¡ He kneels to her, pleading for her love, but she Dmitry on a white horse and greeted by the people, by ¡ Tebyá, tebyá, odnú, Marína 3:41 mocks him, telling him that he should be thinking of the the Boyar, who is released and hymned by the Jesuits 0 Boris’s Fears: Slikhál li ty, kogdá-nibud 2:20 (Dmitry, Marina) defeat of Tsar Boris. He reveals his plan to lead his Lavitsky and Chernikovsky, who follow him. The (Boris, Shuysky) ™ O, tsaryévich, umolyáyu 3:52 followers at dawn to attack Russia and take the sound of mourning bells is heard and fires are seen (Marina, Dmitry, Guests) Kremlin, telling her that she will be mocked for her burning in the distance. 7 The Simpleton, left alone, ! Shuysky’s Narration: V Ugliche, v soboryé 1:39 rejection of him. ™ Now she asks him to forgive her, sings of bloodshed, fire and misery. (Shuysky, Boris) pledging her loyalty to him and his cause. They are united and Rangoni, as he passes by, now sees with Scene 2 @ Clock Scene: Uf, tyazheló! 3:56 delight the success of his plans. (Boris) 8 The final scene is set in the Granovitaya Palace in the 8.110242-44 4 13 8.110242-44 110242-44 bk Boris US 26/04/2004 13:41 Page 14

Kremlin. In the great assembly hall the Boyars meet, cathedral. The old man had done as he was bidden and CD 1 64:35 Grigory’s Dream: determined that the usurper should be captured and put at once recovered his sight. Boris falls back, fainting. 0 Bózhe krépki, právy 3:08 to death. 9 They await Prince Shuysky, without whom Regaining his senses, he calls for his son and bids Prologue 25:02 (Monks, Grigory, Pimen) they can do nothing. Shuysky joins them, telling how he Pimen to the cloister again. Shuysky hurries away to ! Ti vsyo pisál, i snom nye pozabylsa 3:43 had observed Tsar Boris and was worried about his find Fyodor. Boyars go in search of the Patriarch of the Scene 1 (Grigory, Pimen) sanity; the Tsar had stammered wildly, suffering some Monastery of Miracles. Fyodor runs in, throwing 1 Introduction 1:47 hidden sorrow and speaking to the ghost of Dmitry. The himself into his father’s arms. ! Boris now bids his son (Orchestra) Boris’s Crime: Boyars do not believe him but Shuysky adds that Boris farewell, for he is dying. Fyodor must now succeed him, @ Davnó, chestnóy otyéts 2:03 had told the ghost of the boy to go. Boris enters, at first however the throne had first been gained; he must 2 People’s Chorus: Nu, shtozh vy? 5:17 (Grigory, Pimen) unobserved, repeating Shuysky’s words and then distrust the disloyal Boyars in Lithuania and punish (Police Officer, The People) # Zvonyát k zaútrenye 3:44 coming forward to threaten Shuysky with death. The them. His voice grows weaker, as he bids his son be a (Pimen, Monks, Grigory) Boyars are alarmed at the Tsar’s appearance, but just ruler, honouring the saints and protecting his sister. 3 Shchelkalov’s Address: Shuysky tells him that an old holy man seeks to see him. He seeks the blessing of God and the angels on the boy. Pravoslávnye! nye umolím boyárin! 3:19 Scene 2 Boris orders the old man to be brought in, hoping that @ The funeral bell is heard and the sound of a choir in (Shchelkalov) $ Introduction 1:16 he will bring him peace of mind. 0 Pimen enters and a hymn of mourning. Boris is near to death, still haunted (Orchestra) looks fixedly at Boris, explaining the reason for his by his crimes and fearing what death may bring. The 4 Pilgrims’ Chorus: Sláva tebyé 3:46 visit. He tells him of how an old shepherd came to him, Boyars and religious enter and Boris rises to assert his (Pilgrims) % Song of the Hostess: blind from childhood and incurable by any herbs or power, before falling back in his chair, able only to Poymála ya síza seleznyá 2:14 charms; one night the shepherd dreamed that the voice point to his son Fyodor, the new Tsar. Scene 2 (Hostess, Missail, Varlaam) of a child called him to go to the city of Uglich to pray 5 Introduction 2:00 at the tomb of Dmitry, the murdered Tsarevich, in the Keith Anderson (Orchestra) ^ Arrival of Varlaam and Missail: Zhéno, mir dómu tvoemú! 2:30 6 People’s Chorus: (Varlaam, Hostess, Missail, Grigory) Da zdrástvuet tsar’ Borís Feódorovich! 3:15 (Shuysky, The People, Boyars) & Varlaam’s Drinking Song: Kak vo górode bylo vo Kazáne 3:34 7 Entry of Boris: Skorbít dushá! 3:10 (Varlaam, Grigory, Missail) (Boris) Producer’s Note * Grigory Questions the Hostess: 8 People’s Chorus: Sláva! Sláva! Sláva! 2:28 Kak yédet yon 3:37 The 1952 recording of Boris Godunov was transferred from American LP pressings. EMI’s original master tape (The People) (Varlaam, Grigory, Hostess) contains many occurrences of pre-echo and low-frequency thumps, and those which could not be removed unobtrusively were left in so as not to disrupt the musical content. Act One 39:33 ( The Guard’s Interrogation: Vy shto zá lyúdi? 3:57 A word is in order about the fillers for this set. Fyodor Chaliapin made his first electrical recording of the (Guard, Varlaam, Missail, Grigory) Coronation Scene under Albert Coates’s direction in October 1925 at Hayes. Although it was issued, HMV Scene 1 decided to re-record it, along with the Farewell and Death Scene, only seven months later in Queen’s Small Hall, 9 Pimen’s Monologue: ) Grigory’s Flight: Ya grámotny 3:46 this time with Eugene Goossens at the podium. Neither side was issued at the time, although the second half Yeshchó odnó poslyédnyeye skazánye 6:01 (Grigory, Guard, Varlaam, Missail) eventually appeared on LP. The first side now joins it, making its début some 78 years after it was recorded. The (Pimen) take of Boris’s Death from the 1926 sessions was also unpublished on 78 rpm discs, while the take of the 1931 Clock Scene makes its first appearance here. Mark Obert-Thorn 8.110242-44 14 3 8.110242-44 110242-44 bk Boris US 26/04/2004 13:41 Page 2

Great Opera Recordings Mark Obert-Thorn

Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of Modest specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been MUSSORGSKY nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. (1839-1881) He has found a way to combine all three in the transfer of historical recordings. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike those who apply significant additions and make major changes to the acoustical qualities of old recordings. His philosophy is that a good transfer should Boris Godunov not call attention to itself, but rather allow the performances to be heard with the greatest clarity. (Revised and orchestrated by Nikolay Rimsky-Korsakov) There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and Libretto by the composer after Pushkin and Karamzin consistently achieves better results than restoration engineers working with the metal parts from the archives of the modern corporate owners of the original recordings. His transfers preserve the original tone of the old recordings, Boris Godunov ...... Boris Christoff (Bass) maximising the details in critical upper mid-range and lower frequencies to achieve a musical integrity that is Fyodor ...... Eugenia Zareska (Mezzo-Soprano) absent from many other commercially released restorations. Xenia ...... Ludmilla Lebedeva (Soprano) Nurse ...... Lydia Romanova (Mezzo-Soprano) Shuysky ...... Andrzej Bielecki (Tenor) Shchelkalov ...... Kim Borg (Bass) Pimen ...... Boris Christoff (Bass) Grigory / Dmitry ...... Nicolai Gedda (Tenor) A Boyar ...... Gustav Ustinov (Tenor) Khrushchyov ...... Andrzej Bielecki (Tenor) Marina ...... Eugenia Zareska (Mezzo-Soprano) Rangoni ...... Kim Borg (Bass) Varlaam ...... Boris Christoff (Bass) Missail ...... Andrzej Bielecki (Tenor) Hostess ...... Lydia Romanova (Mezzo-Soprano) The Simpleton ...... Wassili Pasternak (Tenor) Police Officer ...... Stanislaw Pieczora (Bass) A Guard ...... Stanislaw Pieczora (Bass) Lavitsky ...... Raymond Bonte (Tenor) Chernikovsky ...... Eugène Bousquet (Bass)

Russian Chorus of Paris French National Radio Orchestra, Issay Dobrowen The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best Recorded 7th-21st July 1952 in the Théâtre des Champs-Élysées, Paris and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards First issued on HMV ALP 1044 through 1047 in the field of historical recordings.

8.110242-44 2 15 8.110242-44 110242-44 bk Boris US 26/04/2004 13:41 Page 16

ADD Great Opera Recordings 8.110242-44

Also available: MUSSORGSKY

Boris Godunov

Boris Christoff Nicolai Gedda Eugenia Zareska Kim Borg Andrzej Bielecki

Russian Chorus of Paris French National Radio Orchestra Issay Dobrowen 8.110216-17 Recorded in 1952

3 CDs 8.110242-44 16 110242-44 fb Boris US 26/04/2004 02:16pm Page 2 N

8.110242-44 Modest ADD AXOS Historical 3 CDs MUSSORGSKY Playing (1839-1881) Time (Suite 509) Franklin, Tennessee, 37067, USA. Distributed by: Naxos of America Inc., 416 Mary Lindsay Polk Drive, h broadcasting and copying of this compact disc prohibited. translations reserved. Unauthorised public performance, All rights in this sound recording, artwork, texts and

2004 & Boris Godunov 3:24:26 8.110242-44 (Revised and orchestrated by Rimsky-Korsakov)

g Boris Godunov / Pimen / Varlaam . . . . . Boris Christoff Folk-song and liturgical chant 2004 Naxos Rights International Ltd. Grigory / Dmitry ...... Nicolai Gedda inspire many pages of Boris Fyodor / Marina ...... Eugenia Zareska Godunov, heard on these

Xenia ...... Ludmilla Lebedeva discs in Rimsky-Korsakov’s MUSSORGSKY: Boris Godunov Nurse / Hostess ...... Lydia Romanova colourful orchestration. By Shuysky / Khrushchyov / Missail . . . . . Andrzej Bielecki 1952, when this recording was made, Boris Christoff, who had Shchelkalov / Rangoni ...... Kim Borg been singing excerpts in public A Boyar ...... Gustav Ustinov as early as 1944, was steeped in The Simpleton ...... Wassili Pasternak Mussorgsky’s music and knew Police Officer / A Guard ...... Stanislaw Pieczora every note of the score. It is for Lavitzky ...... Raymond Bonte Christoff’s triumph in three Russian Chorus of Paris contrasting rôles, the young French National Radio Orchestra • Issay Dobrowen Gedda as the False Dmitry, Zareska as Marina, Borg as the Recorded 7th-21st July 1952 wily Rangoni and Dobrowen’s in the Théâtre des Champs-Élysées, Paris conducting that this set is First issued on HMV ALP 1044 through 1047 treasured by opera enthusiasts.

CD 1 64:35 CD 2 68:12 CD 3 71:39 MUSSORGSKY: Boris Godunov MUSSORGSKY: 1-8 Prologue 25:02 1-@ Act II 32:15 1-@ Act IV 45:08 9-) Act I 39:33 #-™ Act III 35:57 #-* Appendix: Studio Recordings of Fyodor Chaliapin MADE IN as Boris Godunov 1926-31 26:31 CANADA

Producer and Audio Restoration Engineer: Mark Obert-Thorn 8.110242-44 A complete track list can be found in the booklet www.naxos.com

Cover image: Boris Christoff as Boris Godunov, anonymous AXOS Historical

N [Private Collection/Lebrecht Collection]